The album that was too weird for its own success
In short: Kate Bush’s 1982 masterpiece was a radical departure from pop norms, blending folk instruments like the didgeridoo with cutting-edge digital sampling. While it reached the UK top three, its dense, experimental nature initially baffled critics and led to some of the lowest sales of her career.
Released on September 13, 1982, The Dreaming marked a pivotal shift in Kate Bush's career. After co-producing her previous work, Bush took full creative control, opting to produce the album entirely herself. This newfound autonomy allowed her to push 'maximalist tendencies' to the brink, utilizing the Fairlight CMI digital sampling synthesizer to recreate complex sounds in her head. The result was a dense, polyrhythmic tapestry of styles, ranging from experimental post-punk to folk, featuring instruments like uilleann pipes, mandolins, and bullroarers.
The production process was grueling and expensive, spanning over two years. Bush faced significant writer's block in 1981, leading her to work across multiple studios, including Abbey Road and Odyssey Studios, and even collaborate with Irish folk bands in Dublin. Despite the high production value, the album received a mixed initial reception. Critics were often bewildered by its 'histrionic fits' and 'twisted overkill,' with some predicting it would be a commercial failure. Indeed, while it peaked at No. 3 in the UK, it remained on the charts for only 10 weeks and was certified only Silver.
However, the album's legacy has undergone a massive critical rehabilitation. In recent decades, it has been hailed as a 'wholly unfettered mistress-piece' and a landmark of artistic autonomy. It has been cited as a favorite by diverse icons like Björk and Big Boi, and it influenced Steven Wilson's 2015 album. Its narrative depth is equally vast, drawing from diverse sources: Stephen King's 'The Shining,' the plight of Indigenous Australians, the life of Harry Houdini, and even old crime films. It remains a definitive example of an artist successfully pleasing no one but herself.
The album's impact was so profound that EMI's concerns over its low yield prompted Bush to build her own studio to ensure total creative freedom for future projects. This move eventually paved the way for her 1985 commercial breakthrough, Hounds of Love. Today, The Dreaming is celebrated not just for its sound, but as a brave 'volte face' from a mainstream star who chose to prioritize imagination over marketability.
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- Summary by Intellect · source: The Dreaming (album)
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